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Sasquatch –from the Bottom up part 1; Big Feet
I'm still pretty green at this Crypto stuff—I've only been part time studying for about 6 years. My "real job" is researching hauntings phenomena and Cryptozoology is sort of a side. I've decided to share my learning journey here on this blog, beginning with Sasquatch.
Today we're looking at Bigfoot's feet. Most footprint casts look like this:
Most notably, each of these images appears to have five toes. Racoons have five toes, but there would be evidence of claws in the tracks. Bears also have five toes, but the front tracks have a short sole. The hind track is a bit larger. Both are wider near the toe than the above tracks. Note too that there are no signs of claws on any of these casts. An animal large enough to leave these prints would step deeply enough to leave signs of any claw attached.
These tracks appear most closely related to human tracks, but is that enough to classify bigfoot as humanoid? Not just the tracks. When we add in the probability that whatever made the tracks walks upright, this lends a better probability that this creature is structurally much like a human.
From the footprint casts we can also deduct relative weight and height. The depth of the imprint is indicative of the weight of the creature who made it. This is fairly easy to determine in the field. Choose an investigator with a similar size footprint (or the largest one available) and have that person run barefoot over the same area where the cast was taken (given the same level of wetness of the soil or snow). Measure that footprint's depth and add the subject's known weight into this formula:
Depth of human track/weight of human=depth of unknown/x where x equals the weight of the unknown.
More specifically, if you have a 3 inch depth on your 200 pound human (3/200) and a 4 inch depth on your unknown (4/x) you can solve for the weight as such: 3/200=4/x or 3x=1200, meaning x would be 1200/3 or 400 pounds. This works much more accurately than analysis of the Patterson-Gimlin tracks where the tracks were compared to horse tracks. Clearly, the weight distribution is different on a hooved animal with four weight bearing limbs than on a five toed bipedal animal.
Because of the structure of the human foot, it is easy to approximate the height of the person it belongs to. Keep in mind that this does not allow for deformation like spinal compression or curvature, so the height is not exact. Deducing this is to get a general idea of how large a creature would be. In humans, the length of a person's foot is approximately 15 percent of his or her height. The formula is 15/100=foot inches/height inches. So if a man has a 10 inch foot you can expect him to be about 67 inches tall. 15/100=10/x where x is his height becomes 1000=15x or about 67 inches. If the cast length is 20 inches, you should expect your creature to be no more than 133 inches or about 11 feet tall.
Using the data above, we can assume that from a track that is 20 inches long and 4 inches deep which has 5 toes without claws, our mysterious creature would be 11 feet tall and weigh about 400 pounds. It is estimated that Gigantopithicus was about 10 feet tall, and weight 1200 pounds. In comparison, male gorillas generally top out at about 400 pounds and 5 and a half feet tall. It would seem then that our Sasquatch should be relatively tall and thin. Alternately, if we estimate size based on the creature's weight (as estimated above) rather than length of foot and our control is a "fit human male" at 6 feet, 200 pounds, then we would expect our bigfoot to be about 12 feet tall. In either case, the bulky illustrations we see of purported Sasquatch do not fit.
Witness testimony places much more bulk on our Sasquatch—broader at the shoulders than a man, so different musculature would be present and this would vary the weight considerably. Factoring in all three—height, weight, and bulk, it would seem appropriate to believe that a male bigfoot would be about 9 or 10 feet tall and weigh in the neighborhood of 800 pounds.
A more accurate estimate of height comes from measuring stride, but we'll talk more about that when we work our way up to his legs.
Feet have basically two purposes—movement and weight bearing. The Sasquatch casts show a clear ball and heel, and some casts show an arch. The larger first toe gives clues to his ability to move. This larger toe is stronger and we depend on it for propulsion. In most casts, this first toe is not significantly larger than the rest which would lead us to believe that all toes on this creature assist with propulsion, making movement very fast. Human feet have three arches, the one we most commonly refer to as "the arch" at midfoot, one along the outer edge, and a "transverse" arch that runs perpendicular to these other two. All of these arches assist in balance, and generally the "flatter" the arch, the more contact the foot has with the ground. In the casts above, the arches are barely noticeable. This should mean that there is a difference in the bone and muscle structure in a Sasquatch foot. Such flat feet would render a human in great pain and limited mobility and we're pretty certain that is not the case with Sasquatch. The Sasquatch is thought to have a mid-tarsal break, which unlike humans would give it enough flexibility to grab objects with its foot. Additonally, Sasquatch has a gray pad on the sole of the foot called the Ostman pad.
Understanding the Sasquatch foot would be important in placing the creature into comparison with human evolution. W E H Harcourt-Smith and L C Aiello write:
In the last 80 years or so there have been a number of proposed theories addressing the evolution of hominin bipedalism from the point of view of comparative anatomy. Historically, these theories can be placed into two categories. First, there are those theories based primarily on observed anatomical differences between extant hominoid taxa, and secondly there are those theories based more on fossil material. Because the vast majority of early hominin fossil remains have been found since the 1960s, theories prior to that date rested almost exclusively on the comparative anatomy of modern humans and the extant primates, particularly the great apes. They addressed the question of the probable postcranial morphology and associated locomotor repertoire that immediately preceded the appearance of hominin bipedalism. By contrast, ideas about the evolution of hominin bipedalism since the 1960s have tended to be highly influenced by fossil finds and to focus on questions of bipedal evolution within the human clade.
Sasquatch feet do not fit nicely into any evolutionary delineation. Perhaps we are dealing with a descendent of the Red Deer Cave People or even an undetermined new hominid species.
Next up-"If you don't have a leg to stand on, you can't put your foot down." ~Robert Altman
http://en.wikipedia.org/wiki/Trace_fossil
http://en.wikipedia.org/wiki/Humanoid
http://www.friendsofbanff.com/learn-more/edu-kit-rentals/big-bear-edu-kit/
http://www.csicop.org/si/show/science_and_footprints/
http://www.cyberbee.com/whodunnit/foot.html
http://io9.com/5875986/did-bigfoot-really-exist
http://gorillafund.org/sslpage.aspx?pid=769&gclid=CKTo-96R9K4CFU3UKgodEBTfJg
http://en.wikipedia.org/wiki/Arches_of_the_foot
http://en.wikipedia.org/wiki/Red_Deer_Cave_people
http://en.wikipedia.org/wiki/Hominidae
http://listverse.com/2011/05/23/top-20-bigfoot-sightings/
Sasquatch –from the Bottom up part 2; Hot Legs
Myth, Legend, or Cryptozoology?


Thanksgiving is right around the corner, and, because of that, it is time to recognize the things and people to be thankful for. There are a lot of things that I am thankful for. I appreciate people that support me such as Ms. Glover, my friends Me'Laiha and Colyn as well as my mom. Ms. Glover constantly boosts my confidence and motivates me to push through. Me'Laiha has been my best friend for over two years, and we've been through thick and thin. I honestly wouldn't be here if it wasn't for her. Colyn has a special place in my heart because he knows how to make me smile even when I'm at my worst. He is always there to cheer me up and make me feel good about myself. My mother has supported me my whole life and knows me better than I know myself. We are always laughing and talking about life's moments. She is the strongest and most independent woman I know, and I always look up to her.
These influencers have been there for me through toughest of times and have helped me through them. They listen to me complain and vent, they offer advice, laugh with me and give a shoulder to cry on. They even know what to say to cheer me up even if it is offering me McDonald's, which I'm also thankful for.
Other things that I am thankful for include the basic life necessities that people often take for granted. I have a home, with utilities, plenty of food and a comfortable bed to sleep on. I have clean clothes to wear and my favorite fuzzy socks. Although I have chores to do, that consists of cleaning my stuff, and I may complain about it while I'm doing them, I'm glad that I have those things to clean instead of being without.
I love music, and it benefits me so much more than just for entertainment. Music is therapeutic for me, and it can also just put me in a certain mood depending on the style or genre. Music is good for cheering me up, dancing, partying, meditating, sleeping, focusing and just blocking things out. Without it, my mind and interests would be completely different and bland.


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The Carriage House history page of the Friends of Highland Recreation Area website.
The Lodge's "Little Brother"
Most text content below is from the MotorCities signs at the Carriage House site for everyone to enjoy... other edits are from the Friends of Highland Recreation Area...
It was a garage and a playhouse. The carriage house was planned to be the chauffeur's home and to shelter Ford family vehicles. But the chauffeur moved into the Lodge, and the carriage house became a playhouse for the Ford children Henry II, Benson, Josephine, and William Clay. Self-sufficiency was important at the estate, as it was in Ford's automobile factories. The building's exterior siding logs came from the northern Michigan timber holdings used for early Ford vehicle bodies. Model T parts were used in pulling logs up the hill and a backup power generation system near the Carriage House.
The carriage house was often called the "Little Brother of the Lodge", sharing the same cedar log construction. The chimney at the Carriage House, like all fireplaces and chimneys at the Lodge, was made of Vermont stone. Although the building appears to be off log construction it is not. Exterior facade half-cut log construction details to the visitor at the corner of the carriage house reveal copper zigzag wires that were wrapped around the ends of the log facde to minimize peeling of the wood and bark.
The electrical power system at Haven Hill was placed underground to maintain the natural appearance throughout the estate.

redpajama_set_name: RedPajamaCommonCrawl


My roommate Roxanne has urged me for months now to start a blog about all my theatrical adventures – seeing and critiquing shows, as well as occasionally composing and working on them myself, in LA and beyond. I hope this blog will be a valuable place for me to work through my ideas, since I often do my best thinking through writing. Hopefully it will be an interesting read for others, as well.
This is my 139th post. So I hope someone out there is reading!
Actually, I know several people who are reading, who have been advocates for my theater criticism from day one. Within the first month, Colin Mitchell gave me a huge boost of confidence and expanded my audience with a Bitter Lemons post on "The Democratization of Theatre Criticism." Trevor Thomas, with whom I engaged in some early debates about objectivity in theater criticism, invited me to write for EDGE Los Angeles beginning in November 2010. John Topping and Tony Frankel invited me to join Stage and Cinema in March 2011. Some of my most rewarding professional relationships and friendships have emerged from my criticism over the past two years. Thank you all.
Since January 2010, I have reviewed theater and other performance events in Los Angeles, Orange County, San Diego, New York, and Chicago. I have written articles on the blogger-critic, repetitive theatergoing and fandom, and the art of listening. I have used this blog for unabashed self-promotion as I composed, music directed, and dramaturged from coast to coast. I even blogged my trip to Israel with Manny Azenberg and a bunch of "show business Jews" last summer.
But the heart of this blog is and always will be the criticism. From the very first post, I set out to write smart and accessible, personal and visceral reviews for a theatrical community that rarely gets the coverage it deserves in the mainstream media. I am not a paid "professional," so try as I might, I can't see and review it all. But I see a lot, review a lot, and think a lot. And I am thrilled by the increasingly porous boundaries across academia, professional criticism, and blogging.
Although the LADCC still has its qualms about blogger-critics, Princeton professor Jill Dolan was recently awarded the George Jean Nathan Award for Dramatic Criticism specifically for her blog The Feminist Spectator. There are so many reasons to praise the award committee's decision. Dolan breaks down the binary between "educated" critics and "uneducated" bloggers, as well as between "objective" scholarship and "feeling" human beings. What's more, Dolan is only the 7th woman to win this award in its 56 year history. As Karen Fricker writes in The Guardian, "Much of the joy of the online Feminist Spectator comes from the sense of someone letting their hair down, writing with lucidity and freedom about whatever she bloody well pleases." What a refreshing thought!
At the same time, the increasing recognition of blogger-critics is part and parcel of the death of theater criticism as a viable career. Only this past week, longtime critic Dany Margolies was let go by Backstage. It is a sobering realization that "professional critics" are increasingly freelancers, jumping from job to job, while "bloggers" are often constrained by time and funds, writing in their spare time for the occasional comp ticket. This is a false binary, but it serves a point: I sometimes wonder if I am blogging myself into an impossible future career in theater criticism.
Yet the critics who navigate this Catch 22 – whether as professionals or as bloggers – are often united by an unquenchable thirst for theater and a passion for dialogue and debate. For the writers who persevere in this strange new system, criticism is more than a job and and more than a hobby: it is an imperative. We write because we can't imagine not writing.
Perhaps this is the democratization of theater criticism after all. If so, I'm honored to be a little part of it, and I look forward to the next chapter.
Academia was an obvious choice for me after undergrad. I have an insatiable passion for knowledge, and I am genuinely excited to get started on the dissertation now that I have advanced to candidacy. I am so fortunate to have 4 brilliant, supportive scholars on my dissertation committee. Today's exam was more like a conversation than an intense questioning. A lot more enjoyable and less stressful than I expected!
Of course, one reason why the exam was less stressful is that I had "rehearsed" my answers. I didn't know the questions going into the exam today. But for the past 8 months, I have been an avid theatergoer, a fan, a critic, a composer, a music director – and this nebulous thing called the LA Theater Community has continually engaged me in conversations about theater and performance studies. For that, I feel incredibly blessed and grateful.
One reason I decided on a PhD program in Theater and Performance Studies (rather than English, which I was also considering) was the collaborative aspect of theater. While I was at Duke, theater – and specifically musicals – became an important mode of mediating my social relationships and shaping my cultural world. As much as I enjoy academia, it can be a lonely and isolating pursuit – even in the realm of Theater and Performance Studies. The past 8 months consisted of studying my bibliographies, writing and rewriting my prospectus, organizing and reorganizing my plan for the dissertation; I was mainly holed up in my apartment amidst stacks of articles and books. Meetings with my professors were always welcome conversations, but scholarship is still often an isolated, mental pursuit. Writing stages imaginary conversations among theorists and texts.
Enter the "LA Theater Community." Amidst all this potentially isolating intellectual work, the idea of a theater as a mode of relation has been central to my life in the past few months. Music directing (Is There Life After High School, Happy End, Gone Missing, Thank You, Mr. Falker, and sporadic concerts and benefits with friends) has been a space of rehearsing my theories about the musical, of actively engaging with my thoughts in practice, of seeing both the ideals – and the contradictions and conflicts – within any community. Thank you to all with whom I worked creatively over the past few months – directors Gary Gardner, Hunter Bird, and Lane Williamson, choreographer Christopher Albrecht, all the stage managers and casts and crews. You were the vibrant musical numbers to my academic narrative; you gave me a renewing respite from my academic work each and every day, not to mention a space to actively discuss and engage in embodied practice of the musical, which I view as invaluable to my scholarship.
What more can I write about CYCLOPS? (Perhaps you should ask me again when I start my dissertation.) This rock opera was simultaneously an ecstatic, Dionysian release from my academic work – and a theatrical experience that actively engaged my scholarship. Psittacus Productions could not be a more brilliant or welcoming company; the sense of communitas among their ensemble palpably extends to the audience. And, by the way, I wrote most of this post before closing night … which Colin Mitchell can attest was a pretty ridiculous and unforgettable experience in my superfandom. (Yes, that was my imaginary overture of Jayson Landon Marcus' and Benjamin Sherman's incredible music playing at closing.) Once in a while, shows like Venice and Cyclops come along, reassuring me that theater (and specifically musical theater) can be layered, political, generous, and endlessly entertaining.
I feel blessed to be in a position in the LA theater community where I can advocate for such exceptional new work, in my own small way. But my position in the critical community would not be possible without a great deal of support from readers and fellow critics. I started blogging about a year and a half ago. Colin Mitchell at Bitter Lemons picked up on my work first, for which I am endlessly grateful; he has been one of my greatest supporters and has brought attention to my random, start-up blog in a way that I never imagined possible. In the early months of my blog, I had some fun debates about styles of theater criticism with Trevor Thomas – who is now my fantastic editor at EDGE Los Angeles. And I recently signed on to write for Stage & Cinema, as well. A theatergoing habit has turned into a reviewing practice and, hopefully, can one day become a core part of my career.
My place in this virtual community of theater critics is amplified and enhanced when I have the great pleasure of spotting a fellow critic at the theater: Steven Leigh Morris at Crack Whore Galore, Tony Frankel after Three Sisters or Perestroika, Colin Mitchell at CYCLOPS (twice!). My life is literally structured around theater dates with friends. I cherish the conversations that surround the theater experience as much as, if not more, than the theatrical experience itself.
With so many upcoming theater conferences in LA, we are continually attempting to define this nebulous thing called Los Angeles theater. Yet its excitement, perhaps, is its dynamism and continually shifting shape. We all play multiple roles, as artists and audiences. LA theater is multifaceted, decentralized, vibrant, and mutually supportive. The sense of community is palpable and has been so important to me lately. Thank you all for your continuing support. See you at the theater!


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Katie Griffin (born January 14, 1973) is a Canadian actress and singer. She has had roles in several television movies and feature films. In cartoons, her best-known roles include the voices of Sailor Mars in the original English Canadian dub of Sailor Moon, and Alex in Totally Spies!. She is also the voice of Laugh-a-Lot Bear in Care Bears: Journey to Joke-a-lot and as a plush toy. She also voiced Farmer Shire in Corn & Peg.

Biography
Griffin grew up in Scarborough, Ontario. Her mother was a teacher, and her father was an air traffic controller. When she was 8, she attended Edgewood Junior Public School and played the role of The Artful Dodger in her school play, which garnered notice from her mother, who was the school director, of her talent.  Looking back at that period, Griffin said that she was more inspired by watching movies than theatre, especially concerning strong women, and cited her mom as a huge influence. Griffin also attended David and Mary Thomson Collegiate Institute.

Griffin got her break into acting when she was 15 when she participated in a play at the Ryerson Theatre and was noticed by an agent. She was booked for local commercials and television spots in Canada as well as television movie specials. After graduating high school, she switched agents and continued with her acting gigs. When she was attending Ryerson Polytechnical Institute, she was offered a role in the television film "Up to Now" but it caused a conflict where she had to choose between acting or studying.

Griffin's first major role in an animated series was Sailor Mars in Sailor Moon, which at the time she had not realized was going to be popular. She was recommended to audition by Rino Romano, who voiced Tuxedo Mask. She described the role with Serena as best friends who sometimes fight, but not really the bully persona that was shown.  She would record about two to three episodes a week, and it was not difficult on her voice. She likes that Mars is "fiercely loyal, strong, loves martial arts, sings... and the fact that she can summon fire and destroy evil, lol, Rei and I are very similar in character."

In the animated TV series Braceface, Griffin voices Nina, a mean eighth-grader girl who gives the title character her moniker. In the Moon Chase interview, Griffin said "I don't think I have one single thing in common with Nina, so it was fun playing that role. I guess in the end, I like playing badass kind of characters."

In voicing Alex in Totally Spies!, Griffin used a higher vocal register than usual. She was worried about nodules developing, and being recast when the series returned for season 6 following a hiatus, but was happy when she could return. She found the part to be really fun, easy to play, and liked that Alex was so lovely to animals. She notes that about the only thing Alex and Raye (Sailor Mars) have in common is their ability to kick some ass.
She also voiced the character Ruby in Max & Ruby and Mary of the Geniuses and Miles of the Vegans in Total Drama Presents: The Ridonculous Race.

In live-action acting, she starred alongside Rob Lowe as his love interest in Too Late to Say Goodbye. She also worked with Nicole Kidman and Glenn Close.

Music career
Some of Griffin's influences in her music style include: Sarah McLachlan, Madonna, The Tragically Hip, as well as alternative music bands Hole, Foo Fighters, No Doubt, and Radiohead. She enjoys singing but realized she wasn't going to get a record deal by just that. She learned guitar and began writing songs. Following one of the commercial voice-over jobs where she sang a jingle, she played some acoustic songs and her friend suggested she get her songs produced in an album. She was introduced to Michael Kulas of the band James. Kulas was able to produce many of her acoustic songs so that they became more of a pop/rock album. The album title Kiss Me Chaos was based on the Kiss Me, Kate musical, as she describes herself as being pretty strong and like "Kate the Shrew". It released in streaming service in February 2020.

Personal life
Griffin is married to musician Michael Kulas. They have two children. Griffin enjoys martial arts films, playing guitar, and playing/watching hockey. She has a younger sister named Becky.

Filmography

Live-action

Live-action feature films
 Boulevard (1994) – Lorraine
 To Die For (1995) – Girl at Bar
 Getting Away with Murder (1996) – Student (uncredited)
 The Real Blonde (1998) – Empty V Interviewer
 The Safety of Objects (2001) – Female Contestant #1, Sue
 Swindle (2002) – Judy
 Aurora Borealis (2005) – Sandy

Live-action direct-to-video and television films
 The World's Oldest Living Bridesmaid (1990) – Interviewee #2
 The Good Fight (1992) – Shelly
 Salem Witch Trails (1992) – Abigail Williams
 Getting Gotti (1994) – April
 Fatal Vows: The Alexandra O'Hara Story (1994) – Anna
 Prince of a Day (1995) – Gina
 Up to Now (1995)
 Electra (1996) – Mary Anne Parker
 Mr. Music (1998) – Profound Reporter
 Ricky Nelson: The Original Teen Idol (1999) – June Blair
 Black and Blue (1999) – Jennifer, Brunette Wife
 Daydream Believers: The Monkees Story (2000) – Award Presenter
 Lucky Day (2002) – Penny
 Power and Beauty (2002) – Jacqueline Exner
 Protection (2001) – Gina
 America's Prince: The John F. Kennedy Jr. Story (2003) – Shrine Girl #1
 Candles on Bay Street (2006) – Naomi
 The Death of Alice Blue (2009) – Katie
 Too Late to Say Goodbye (2009) – Dara Prentice
 Desperately Seeking Santa (2011) – Sonia Moretti
 Z-Baw (2012) – Berdi

Live-action television series
 My Secret Identity (1990–1991) – Allison Nesbitt, Renee
 Are You Afraid of the Dark? (1992) – Dede (Tale of the Prom Queen)
 Katts and Dog (1993)
 Boogies Diner (1994) – Nikki
 Kung Fu: The Legend Continues (1994) – Girl #1
 Side Effects (1994) – Resident
 DNA (1994)
 Forever Knight (1995) – Jill
 The Great Defender (1995) – Receptionist
 Psi Factor: Chronicles of the Paranormal (1997–1998) – Amanda Sanderson, Mansfield's Sister
 The Adventures of Sinbad (1998) – Taryn
 Mythic Warriors: Guardians of the Legend (1998) – Siren #4
 Traders (1999)
 Total Recall 2070 (1999) – Attendant
 Earth: Final Conflict (1999) – Giselle
 The Associates (2001) – Bronwyn
 Doc (2003) – Diane Lang
 Wild Card (2004) – Cosmetics Customer
 Kevin Hill (2005) – Melissa Marsden
 Billable Hours (2006) – Receptionist
 The Best Years (2009) – Mom
 The Dating Guy (2009) – Girl #1, Zena, Charity
 Cra$h & Burn (2010) – Maya Porter
 The L.A. Complex (2012) – Stacey
 Annedroids (2013) – Nick's Mom – Pilot episode only
 Good Witch – Monica – Episode: "In Sickness and in Health"

Other appearances

Voice-over

Voice-over roles in feature film
 Totally Spies! The Movie (2010) – Alex & Caitlin
 The Nut Job (2014) – Pigeon

Voice-over roles in direct-to-video and television films
 Sailor Moon R the Movie: The Promise of the Rose (2000) – Raye Hino/Sailor Mars
 Sailor Moon S the Movie: Hearts in Ice (2000) – Raye Hino/Sailor Mars
 Sailor Moon SuperS The Movie: (2000) – Raye Hino/Sailor Mars
 Rescue Heroes: The Movie (2003) – Penny Pooler
 Care Bears: Journey to Joke-a-lot (2004) – Laugh-a-Lot Bear
 Care Bears: Big Wish Movie (2005) - Laugh-a-Lot Bear
 Beyblade: Fierce Battle (2004) – Ashley, Shadow Blader #2
 The Magic Hockey Stick (2012) – Mom – CBC Christmas Special

Voice-over dubbing recast roles in anime
 Sailor Moon (1995–2000) – Rei/Raye (Sailor Mars) (1995 and 2000)
 Beyblade (2002) – Mathilda, Additional Voices
 Interlude (2005) – Kaoruko Minegishi
 Bakugan Battle Brawlers (2008) – Julie Makimoto, Oberus, Daisy Makimoto, Makoto, Wavern
 Bakugan New Vestroia (2009) - Julie Makimoto
 Bakugan: Gundalian Invaders (2010) – Julie Makimoto
 Bakugan: Mechtanium Surge (2011) – Julie Makimoto, Sellon
 Beyblade: Metal Fusion (2011) – Hikaru Hazama
 Beyblade: Metal Masters (2011) – Hikaru Hazama, Mei-Mei

Voice-over roles in other television
 Braceface (2001) – Nina Harper
 Undergrads (2001) – Charity
 Cyberchase (2002–present) - Calliope (episode: Out of Sync), Brigitt (episode: Missing Bats In Sensible Flats)
 Totally Spies! (2004–15) –  Alex (Seasons 3-6), Caitlin, Mindy, others
 6teen (2005) – Lydia, Gwen
 Team Galaxy (2006) – Yoko
 Will & Dewitt (2007–2008) – Mom
 The Amazing Spiez! (2009) – Alex
 Dex Hamilton: Alien Entomologist (2008) – Jane
 Stoked (2010) - Amber Green
 Skatoony (2010) - Posh Botts
 MetaJets (2011) – Maggie Strong/Foxtrot
 Redakai: Conquer the Kairu (2011–2012) – Zair
 Franny's Feet – Additional Voices
 Julius Jr. – The Tooth Fairy
 Traffix – Oona
 Inspector Gadget (2015 TV series) (2015–2018) – Kayla
 Total Drama Presents: The Ridonculous Race (2015–2016) – Mary (1 episode), Miles (5 episodes)
 Magiki (2016–2018) (Canadian dub)
 Mysticons (2017–18) - Kitty Boon
 Cloudy with a Chance of Meatballs (2017-2018) - Sam Sparks
 The Great Northern Candy Drop (2017)
 Agent Binky: Pets of the Universe - (2019–present) Big Human
 Remy & Boo (2020–present) - Remy's Mom
 Glowbies (2021–present) - Oily
 Go, Dog. Go! (2021–present) - Ma Barker

Discography
 Albums
 Kiss Me Chaos (2003)

Notes

References

External links
 Katie Griffin at Maple Music

1973 births
Living people
Actresses from Toronto
Canadian child actresses
Canadian women pop singers
Canadian women rock singers
Canadian film actresses
Canadian television actresses
Canadian voice actresses
Musicians from Toronto
People from Scarborough, Toronto
Toronto Metropolitan University alumni
20th-century Canadian actresses
21st-century Canadian actresses
20th-century Canadian women singers
21st-century Canadian women singers

redpajama_set_name: RedPajamaWikipedia


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Enjoy a luxurious seven day Atlantic crossing on the magnificent Queen Mary 2 and arrive in style sailing past the Statue of Liberty. Then spend three nights in New York City before going North to witness the awesome spectacle of Niagara Falls.
You should arrive in Southampton, where you will be greeted by your dedicated tour manager when you embark the newly refurbished and spectacularly sophisticated Queen Mary 2 for your unforgettable Transatlantic Crossing to New York. As she glides westbound, make the most of your seven leisurely days on board arguably the most extraordinary and luxurious vessel on the seas. Attend one of many insightful talks by experts and celebrity speakers, or catch up with friends in the brand new Carinthia Lounge. When night falls, get dressed up and attend a glamorous black-tie gala ball in the elegant Queens Room.
Early this morning Queen Mary 2 arrives in New York harbour. Nothing quite prepares you for the panoramic view of the iconic Manhattan skyline and the towering Statue of Liberty, reflecting the very essence of the USA to be the biggest and the best. Upon disembarking, we will enjoy a fascinating tour of New York City, taking in the most amazing sights, including bustling Times Square, famous Rockefeller Centre, and the landmark Empire State Building. Then check in to your hotel for the next three nights, the iconic four-star Marriott Marquis, one of the first hotels in Times Square.
You have three glorious days to explore the Big Apple and its multitude of world-class attractions. See more than 5,000 years of art from around the world at the Metropolitan Museum through its intriguing exhibitions and events. Or visit the Guggenheim, as famous for its landmark building designed by Frank Lloyd Wright, as it is for its impressive collection and daring shows. An unusual yet welcome highlight is High Line Park, a lovely 1.5-mile-long stretch of green space built on an elevated section of an old railroad. Take a walk through colourful Chinatown and explore its streets lined with shops selling exotic foods, jewellery and various gifts. Here you'll find some of the best restaurants representing the cuisine of not only the numerous provinces of China, but also of Hong Kong, Indonesia, Malaysia, Vietnam and more. Then there is St Patrick's Cathedral, a breathtaking masterpiece of Neo-Gothic architecture and significant landmark that stands out amidst the city's many contemporary buildings.
Why not take a helicopter flight over this most photogenic of cities to see it all? Or visit the impressive Statue of Liberty on Liberty Island. In the evening, find out why this is the City that Never Sleeps – soak up the atmosphere in Times Square or simply relax in Greenwich Village's intimate bars.
This morning, we board our domestic flight to Buffalo in upstate New York, located on the shores of Lake Erie. A short drive takes us across the Rainbow Bridge over the border to Ontario, Canada, where we stay two nights in the four-star Sheraton on the Falls with lovely views of Niagara Falls.
Niagara Falls has long been a magnet for daredevils, sightseers and honeymooners, but there are few superlatives that can describe the sheer spectacle in front of you, as the equivalent of more than a million bathtubs full of water cascade every minute over a 61-metre-high cliff, crashing in a deafening roar below.
You can see this incredible natural phenomenon from all angles to really experience its sheer power and beauty. Included with your tour is a thrilling boat ride on the famous Hornblower Cruise to get you as close as possible to the thundering waters at the base of the Falls. We can get even more intimate with the Falls and explore the tunnels, staggeringly behind the very waterfalls themselves, for an astonishing view of the massive wall of water but from the inside. You could also take a lift, walking along the bottom of the Niagara Gorge for a truly spectacular close-up view of some amazing white-water rapids.
This morning, we bid farewell to Niagara Falls and head to the small community of Niagara-on-the- Lake, located at the heart of Ontario's wine region. Often cited as the prettiest town in Ontario, it is a fascinating insight into a well-preserved 19th-century village with its charming Victorian architecture. This wonderfully lovely town is hometo the world-class theatre, the Shaw Festival, and many historical sites.
We then head along the scenic shore of Lake Ontario, one of the five Great Lakes, to Canada's largest city, Toronto. Its soaring glass skyscrapers contrast with the verdant parks and lakefront boardwalks of a host of communities. Dominating the skyline is the 553-metre CN Tower, the tallest freestanding structure in the western hemisphere. You will take an exhilarating ride in its exterior glass lifts to the observation deck, where you will be rewarded with stunning views and a glass floor reveals a jaw-dropping perspective of the city.
Later, we continue to Toronto airport for your overnight flight home.
We arrive back in the UK after a once-in-a-lifetime journey across land and sea.
The price of the holiday is per person, based on two people sharing a cabin/room. The price includes 7 nights aboard Queen Mary 2 including all meals, 5 nights in hotels on a room only basis, hotel porterage of one item of luggage per person, return flight from Toronto and all tours & visits as detailed in the itinerary. Includes services of a Riviera Travel tour manager.


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